Attack The Block

It seems appropriate that Joe Cornish made his name on late night Channel 4, hilariously parodying various famous films through the means of fluffy animals. In a sense those sketches on the 'The Adam & Joe Show' all those years ago were his true directorial debut. Of course, toys and action figures are a lot easier to control and govern than real people. And yet all these influences can be seen in his true debut "Attack The Block". Substitute the toy figurines for an ensemble cast of first timers, homaging films instead of spoofing them and fluffy toys for 'big alien gorilla wolf mother fuckers' and you get a sense of what he set out to achieve in "Attack The Block". This is fitting that the man made his name on late night TV on the sort of show you had to stumble across yourself, before falling instantly in love with it. "Attack The Block" could easily be one of those films you would find in the early hours on a Saturday night. A film you might stumble upon, and find yourself growing ever more entertained by, before fighting away the yawns to see it to it's exciting conclusion. Well thankfully you don't need to stay up until unreasonable hours of the early morning to see it, as Joe Cornish has released a uniformly confidant and original debut, that you can see in most multiplexes over Ireland and the UK from last Friday. Whether or not audiences will appreciate the retro-homaging on display and its vying for 'cult status' charms remains to be seen. What is undeniable, is that along with Richard Ayoade's "Submarine" a few months ago, British TV seems to be harboring more and more interesting and original talent just waiting to break out.

Borne out of a real life mugging that happened to Cornish, it quickly set him to wonder about his attackers and how they might handle themselves in increasingly fantastical and far fetched situations. This in turn led to a beautifully simple idea. What would happen if a South London council estate found itself under attack from alien invaders. So before we have "Cowboys Vs. Aliens" we have 'inner city vs. outer space', as it's tag line beautifully puts it. What Cornish achieves so well with this, is in finding time amidst it's ever escalating action to develop it's gang of hoodlums. Initially beginning as quite an unlikeable group we get to know them more (mainly the silent but strong leader Moses, cheeky boy Pest and brains of the group Jerome) as they find themselves increasingly outmatched and out of their depth against the alien marauders. With recent 'ASBO youth of today gone wrong' films like "Eden Lake", "Harry Brown" and "KiDULTHOOD" it was beginning to seem like the UK were on some sort of vendetta against their adolescent offspring. "Attack The Block" refreshingly paints its central characters as misunderstood hoods defending their home turf by way of eventual action heroes that you'll be cheering along come the end. Although trailers and TV spots have painted the film as a comedy, it actually is an unashamedly sci-fi cum home invasion picture; except here, it's invasion comes from another world. Just because Cornish includes frequent witty dialogue throughout, does not mean that the aliens themselves are any less of a threat. Completely jet black ('blacker than my cousin' one of the group hilariously observes) apart from their glowing green fangs, they are an original and effective design fully in keeping with Cornish's low budget DIY roots. The distinctive electronic roar they give off is sure to be remembered in cult science fiction circles for years to come. All the no name cast are fantastic. Painting an instant picture of camaraderie, the gang all fully convince as street hoodlums who are all too quick to stand up to anybody on their turf, whether they be police or alien. Along for the ride is Luke Treadaway as an hilarious wannabe hoodlum but instead posh toff caught up in the action and Emily Browning as a young nurse (re: the audience) who slowly and reluctantly begins to trust the boys as the threat escalates.

For a first time director, Cornish shows genuine chops behind the camera. Of course having Edgar Wright (who Executive Produces) as a friend certainly helps. However as obvious as his influences are, he shows real flair here, managing to deliver on his original idea. He builds his film nicely, starting rather low-key before you find yourself getting more and more drawn into proceedings. So while his sci-fi leanings (everything from "ET", to "Aliens", to "Predator") are obvious from the outset, what is surprising is where he takes his more urban undertones from ("The Warriors", and mainly "Assault on Precinct 13") which is where the film truly gets it's unique feel from. In fact he shows here what a true progenitor he is to John Carpenters throne in how he builds tension and plays against audience expectations of characters. It's score also owes more than a lot to the great master, as the Basement Jaxx take a few leaves out of his song book in developing their electronic soundscapes. Along the way he litters his film with laughs which only add to the pure escapism on display. It may have taken the man more years than expected to deliver his feature film debut, but his late blooming shows how he developed and learned his craft as best he could before applying himself to it. On the evidence here, Edgar Wright should be looking over his shoulder; there's another director for the nerds in town.

Verdict: 8/10

Excellent escapist fun from start to finish. Joe Cornish may have made his name in no budget spoofery, but here he steps up to the plate and delivers one of the sure to be favourites of the year, and a genuine cult classic for the ages. Betta believe bruv.

"Attack The Block" Trailer

Scott Pilgrim Vs. The World

'Geek Chic', 'Hipster Cool' and 'Style Over Substance'. There were times during this film, especially near the start, when I feared that all of these things were threatening to drown it out. The film walks a very fine line in almost letting its ADD visuals and 'oh so cool and hip' sensibilities from overtaking everything. As it stands however, I can safely say, that "Scott Pilgrim" is easily one of the best films of the year and quite unlike almost any other film I have seen. Edgar Wright must have had serious confidence in the comic the film is originally based on. I mean, there are moments when the film is going absolutely bonkers on screen. How he was let away by Universal with such authorship over the film is astonishing. When that first fight happens, it will make or break it for most people. Before now, the film was coasting along nicely, obviously existing in its own universe, but nothing too outlandish has happened. But when the action kicks in, it is incredibly jolting. Wright has faith in his audience and his source material, and God knows he has the talent, because there is absolutely no other Director out there today that could pull off a film like this. It is the result of a computer game and indie/rock music mashed together; it is youth and vitality put up on screen; it makes your own humdrum life exciting and fantastical, because you can relate to Scott's outlook so easily. Everyone daydreams and adds in their own 'movie like' features into their own life all the time. Everyone has their life soundtracked by their own favourite bands. Everyone lets their favourite TV Shows influence their outlook on everything far easier than even their own family. Everyone wishes they could stand up and fight for what they believe in no matter what. Put simply, we all live our life in our head, as does the title character of the film. No doubt our life is not nearly as exciting as we aspire it to be, much like the eponymous character. But that wouldn't exactly make for the awe inducing cinema on display here would it?

Scott Pilgrim is a regular 22 year old slacker. He plays bass in a band, loves video games and falls in love easily. Too easily it would seem. Initially going out with 17 year old high school student Knives Chau, his head turns when he meets Ramona Flowers, the girl of his dreams. However, in order to win her heart, he must first defeat all of her 7 evil exes in 7 fights to the death. Michael Cera has many of his critics. While initially being acclaimed for his comic timing and his predilection for awkward and uncomfortable comedy moments on the now classic ''Arrested Development'' TV Show, he was then accused by many as coasting by on those sensibilities for too long. He was a one trick pony they said. Perhaps those are too hard on Cera, as no one seems to be more aware of this trait, than himself. Earlier this year he proved he can do more than 'nice and nerdy' with ''Youth In Revolt'' and now with this, he proves himself to be quite an adept actor and not only in the physical department. With the fact that Wright turned Simon Pegg into an action star in "Hot Fuzz", it will not surprise anybody that Cera convincingly kicks plenty of ass throughout 'Pilgrim'. However, what is surprising is that he is no longer playing Cera, or a shade of him anymore. Yes, Pilgrim is a dork and a dweeb; he puts his foot in his mouth and sometimes stammers uncomfortably and shyly over sentences, but Pilgrim is a different character altogether than anything we have seen from Cera. At turns fickle, moany, and arguably unsympathetic, he is in many regards, the most real part that Cera has portrayed. It is down to his talent that we stay on Pilgrims side throughout and he doesn't become irritating for the audience. He is also lovable, winningly goofy and relatable. Cera is ably supported by a fantastic supporting cast. Winstead carefully sidesteps being just a dream girl to shows layers beneath that 'too good to be true' caricature that Pilgrim paints of her. Chris Evans and Brandon Routh both hilariously convince as just 2 of those previous and very egotistical exes Pilgrim has to contend with. Mae Whitman turns up too, reuniting her with her ''Arrested Development'' co-star Cera. Kieran Culkin impresses as Scotts gay room mate Wallace, and is hilariously sardonic towards the lovelorn Scott. It is arguably all seen from Scotts perspective in his head, but the film is hardly just about him. Part of what makes the film are the supporting players whether they be part of his band 'Sex-Bob-omb', or attempting to kick his ass for the hand of the one he loves.

There is no reason given for the superhuman tendencies characters have here. Look at the film as being set in a different universe to our own, look at it as being seen through Scotts eyes, look at it as being a metaphor for coming to terms with the one you love's past. Whatever viewpoint you decide upon, nothing can quite prepare you for what Wright puts up on screen. He doesn't ease viewers into it; this is his world, like it or loathe it. When the first evil ex starts bellowing out a Bollywood style song and dance, some simply won't want to go along with the Directors sensibilities so disjointing is it. The film is after all a (deep breath) action-romance-comedy-musical. And you thought ''Shawn of the Dead''s 'rom-zom-com' was ambitious? Wrights film simply bubbles over with colour and life and fervour. It literally is far too much to take in at once. It might be easier at the start to characterise the film as a hipsters wet dream, but there is far too much imagination, wit and originality going on display here to so easily dismiss. How Wright manages to keep to movie on the rails is beyond me, but he passes with flying colours. Action scenes are fantastically staged and choreographed, with each battle getting a firm and separate distinct personality from the last. Events do not become tiring despite the fact that there are 7 epic fights to get through; Wrights pacing is impeccable. The film never once stops to take in breath or to let you digest proceedings and it is all over before you can truly take in what you have witnessed. We all knew Wright was talented before, but the staggering amount of split screens, zooms and camera tricks he throws at the audience is astonishing. All are carefully thought out, and not just of the 'see what trick will stick' variety. For a Director as visually gifted, he is also in great possession of keen writing. This is what lends ''Scott Pilgrim'' its heart and vitality; without this, the film would just be a whirlwind of colour all jumbled incoherently together.

''Scott Pilgrim Vs. The World'' could be argued as being rock music personified on film. The picture both knowingly, yet lovingly mocks its indie core audience. 'We are Sex-Bob-omb', one the characters tells his audience, 'we're here to make you think about death and make you sad and stuff'. Another rival bands song lasts only a few seconds with a screaming declaration of being 'so sad'. It laughs at itself and the audience, and the audience laughs right back. Yet music is in the films bones. Fellow Canucks 'Broken Social Scene', 'Plumtree' and 'Metric' all feature heavily, while Beck and his band performed and wrote all the Sex-Bob-omb tracks featured. The result is everything you could want from a film. It makes you fall in love with your friends, your music and those that you hold dearest all over again. It positively jumps out of the screen and grabs you, shaking you to life. A cinematic headrush of colour, humour and music, Edgar Wright yet again outdoes himself. This is a film for right now and hopefully where you are in your life and depending on your age you will get it, and admire it for everything that it is. If there is a more stunningly original vision this year, I'll burst into coins.

Verdict 85%

Edgar Wright confirms his position as one of the most exciting young film makers around, while Cera shows there is more to him than meets the eye. The cast do fantastic work and the music is all top notch. All this combined with the most humorous action you may see all year adds up to a huge cult classic in the making. Ignore the tepid Stateside response, see the film, fall in love with it and see it again.

"Scott Pilgrim Vs. The World" Trailer